Ritual and Renewal: The Salon de la Rose + Croix and the Spiritual Critique of Modernity
Caitlyn Liu
Exhibitions as History: Modern
Masha Chlenova
December 4, 2024
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In 1892, when the industrialized modern world achieved new heights in progress and disillusionment, Joséphin Péladan, self-proclaimed mystic and author, unveiled the Salon de la Rose + Croix in Paris, France. This was no ordinary exhibition; The Salon da la Rose + Croix was a spectacle of transcendence, enveloped in esoteric rituals, mystical symbolism, and defiant rejection of materialism. In an era of rapid urbanization and scientific rationalism dominating the cultural landscape, Péladan desired to restore spiritual wonder through deliberately otherworldly art: symbolism, allegory, and mysticism. The inaugural 1892 Salon de la Rose + Croix was just one of six annual exhibitions hosted between 1892 and 1897, each expanding the international presence of art as spiritual renewal. The salons became gesamtkunstwerk, where art, music, and spiritual philosophy were bound to emulate immersive experiences designed to awaken souls and critique the decadence of the times. The inaugural Salon de la Rose + Croix in 1892 was not just an art exhibition; it was a cultural and spiritual ritual designed by Joséphin Péladan to challenge the industrialized, material modern society. Péladan's symbolist, mystic, and transcendent aesthetic rejected the evolving material and secular landscape, striving to construct a sanctuary for spiritual and artistic renewal.
France’s Post-War Sociopolitical Scene
The 1890s was a period of monumental cultural and societal change, specifically in Paris, which stood at the intersection of industrial progress and cultural critique. As Paris rapidly modernized with industrial and technological advances, many intellectuals and artists grew increasingly disappointed with the worldly and secular nature that embodied the Third Republic’s governance. Following The Franco-Prussian War (1870-71), the Third Republic struggled to recover from its military defeat and the loss of Alsace-Lorraine, resulting in widespread disillusionment and fractures within French society. France sought to reclaim its artistic and intellectual European leadership, leading to a cultural arc toward mysticism and spiritualism. This provided a counterpoint to the perceived failures of industrialization and rationalism.
Paris became a central hub of industrial expansion due to the war, symbolized by projects such as the Exposition Universelle. Though these achievements celebrated progress, they also created feelings of alienation in society. The rise of Symbolism reflected this societal discontent, with a strong emphasis on spirituality and imagination over Realism and scientific thought. Many intellectuals and artists turned to esoteric philosophies as an alternative framework. For instance, Rosicrucianism and the occult, which emphasized metaphysical ideals and spiritual renewal, became a counterpoint to rationalist ideology. The war and its impact formed a fertile groundwork for ideologies prioritizing spiritual transcendence and cultural critique, aligning with Péladan’s ideology and his vision for the Salon de la Rose + Croix.
Cultural Role of Salons
The term “salon” has its roots in French high society, traditionally referring to gatherings of intellectuals and artists where they engaged in refined conversation, exchanging ideas and cultural critique. Pelàdan’s usage of the term “salon” in his exhibitions, Salon de la Rose + Croix, was not a conventional reflection of these traditions but rather a reimagining. Pèladan’s salons sought to elevate art into a spiritual and moral realm, rejecting the commercial focus on mainstream exhibitions. Kale highlights that historically, salons operated as institutions of social cohesion and cultural capital, which were rooted in the practices of the French aristocracy yet also adaptable to the shifting dynamics of the 19th century. Péladan adapted and maintained the exclusivity and prestige of the original salons with a demographical focus on the elite; however, he rejected their secular focus, subverting his salons’ to promote spiritual ideals through aesthetic means. Péladan's approach saw art as a sanctuary, which offered moral and spiritual renewal to viewers and artists, as well as the alienation of industrialist Paris.
Joséphin Péladan: The Visonary and Organizer
Joséphin Péladan, self-titled “Sâr,” centered himself as not only the curator but also a self-proclaimed mystic and prophet who drew his inspiration from Rosicrucian beliefs. He saw art as a form of divine communication with abilities to transcend industrialization and scientific rationalism, which he condemned as “base materialism.” By reviving the Rosicrucian Order, he sought to integrate Catholicism and occultism, which positioned his salons as responses to the ‘degeneration’ caused by positivist science. As described by Pèladan, the rose cross symbolizes the unity of human and divine aspirations; the rose blooming around the cross represents salvation and transcendence through art (Fig.1). In the preface to the catalog for the 1892 Salon de la Rose + Croix, Péladan declared that the exhibition aimed to “restore the ideal in all its glory” and oppose the “contamination of realism.”
As the sole curator of the 1892 Salon, Péladan selected Symbolist artists who followed his visions and strictly banned landscapes, still life, and genre scenes to uphold works of allegory and religious resonance. His provocative vision is encapsulated in works such as Armant Point’s 1896 Salon Poster (Fig.2), which features Persus holding the decapitated head of Émile Zola, founder of the naturalism literary movement, demonstrating the use of mythological and symbolic imagery to assert his rejection of materialism and his commitment to a higher artistic purpose. The catalog also invoked names such as Michelangelo, Raphael, and Beethoven as paragons of divine inspiration. Furthermore, he presented art as a “priestly” vocation, which positioned the artist as the mediator between humanity and the sacred.
Structure and Content of the 1892 Salon
The inaugural 1892 Salon took place at the Durand-Ruel Gallery, historically known for supporting avant-garde artists such as the Impressionists. The catalog details the exhibition’s ritualistic and immersive atmosphere, along with curated artworks aligning with Péladan’s vision of a “temple of beauty. " The space was curated to resemble a sacred environment with artworks displayed like religious icons to render contemplation and spiritual elevation, a direct critique of the “soulless” efficiency of industrial modernity.
Count Antoine de La Rochefoucault, a founding member of the Order who was an avid collector, second-tier artist, and exhibitor, was the financial backbone of the inaugural Salon. Rochefoucault had suggested exhibiting artists who fell outside of Péladan's vision; however, due to Péladan strict parameters and critiques of secularism and materialism, they were most likely rejected. Among many works was Ferdinand Hodler’s The Disappointed Souls, a painting that encapsulated existential despair and spiritual renewal, echoing Péladan’s belief in the redemptive ability of art (Fig.3). Idol of Perversity, by Jean Delville, reflected Péladan’s moral anxieties about societal decadence, which is evident in his critique of the femme fatale archetype which he saw as symbolic of industrial society’s moral decay. (Fig.4).
Music and performance were crucial elements in the Salon’s immersive design, differentiating it from mainstream exhibitions. Richard Wagner and Eric Satie’s compositions were performed in the exhibition’s space, reinforcing the multisensory, ritualistic nature of the Salon and Péladan’s vision to create a Gesamtkunstwerk, where visual art, music, and literature converged. His multisensory approach was not only a rejection of secular modernity’s compartmentalization of culture but also a catalyst to reintegrate spiritual and artistic elements into daily life.
Public and Critical Reception
The 1892 inaugural Salon de la Rose + Croix attracted a select audience of Parisian intellectuals, Symbolist writers, and avant-garde artists. Péladan intentionally curated the exhibition to emulate exclusivity and appeal to an elite class interested in spiritual and artistic transcendence. Invitations to the Salon were limited, and the exclusive opening on March 10th, 1892, was reserved only for invited guests. The catalog offered subscriptions for 100 francs, which granted the bearer and two female guests access to the exhibition, further highlighting the Salon’s alignment with elite social structures. The critical reception of the Salon was majorly positive, and many supporters praised the exhibition’s rejection of materialism and commercialism of mainstream modern art. Publications such as Le Monde Illustré noted the innovative, spiritual elements of the Salon, more specifically in its emphasis on mystical and allegorical content (Fig.6). The exhibition attracted many notable figures, including some such as Émile Zola, Puvis, Verlaine, and Moreu. While it was a bustling success, many of its visitors were driven by curiosity and the pure allure of scandal rather than pure admiration for its purpose. In Lafonde’s chapter in Mystical Symbolism, he quotes a critic from La vie parisienne who said, “The oddest thing about this Salon de la Rose + Croix is that we went there to laugh, and we ended up admiring.” Some critics claimed that Péladan was overly theatrical and pretentious, viewing his strict policies and commitment to Symbolist principles as rigid and exclusionary. As shown in the same Le Monde Illustré issue, a caricature of Péladan is depicted in the top left corner, a potential mockery of his excessive and eccentric personality (Fig.6).
Despite these contrasting critiques, it is undeniable that the Salon had a generous impact on Symbolist art. By providing a formal platform for Symbolist artworks and ideals, Péladan reinforced connections between art and spirituality, inspiring subsequent exhibitions and solidifying the movement’s relevance within the broader artistic discourse of the late 19th century. The Salon’s role as a critique of industrial modernity further highlights its significance in offering an alternative vision of art as a moral and spiritual refuge.
Impact and Legacy
The inaugural 1892 Salon de la Rose + Croix left a profound artistic impact on the art world by framing art as a sanctuary from the alienation of industrial modernity and secular rationalism. Culturally, the Salon offered radial critiques of industrial Paris, demonstrating an alternate vision of society rooted in moral and spiritual values. Péladan’s efforts to create a multisensory and transcendental art experience demonstrated the need to elevate art beyond commercial and material interests. This counter-narrative not only uplifted and inspired artists but reinforced the potential for art’s purpose to become a space for intellectual and spiritual rejuvenation.
Péladan created an escape rooted in mysticism, spirituality, and transcendence by framing art as a sacred and transformative practice. The Salon’s immersive and ritualistic design rejected utilitarian values and emphasized moral and spiritual renewal, impacting Symbolism and the broader art world’s ability to reimagine art’s purpose. Through its rejection of mainstream trends and focus on divine elevation, the salon remains an imperative step in art history, a radical critique of modernity, and a testament to the everlasting power of art as a force for cultural and spiritual transformation.
Figure 1 - Symbol of Rosicrucianism (The Rose Cross)
Figure 2 - Poster for the fifth Salon de la Rose + Croix, 1896, depicting Perseus holding the severed head of Émile Zola. Designed by Armand Point and Sarreluys.
Figure 3 - Ferdinand Hodler, The Disappointed Souls (Les âmes déçues), 1892, Oil on canvas, 120 × 299 cm, Kuntsmuseum Bern, Staat Bern.
Figure 4 -Jean Delville, The Idol of Perversity (L’idole de la perversite), 1891, Solomon R. Guggenheim Museum, New York City, New York
Figure 5 - Charles Filiger: The Last Judgement, gouache on card, 42.2 x 26, 1891-8
Figure 6 - Page from Le monde illustré (March 26, 1982) p.207
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